Chapter 4 beta-read by frustr8dwriter Harry found himself on the hard, cool marble floor after he made his wish.
Christians have long recognized that these practices are not only based on mistaken concepts of reality, they also render the practitioner vulnerable to deception and harm by evil spirits.
Furthermore, they nurture an unhealthy attraction to the gnostic lure of hidden, esoteric knowledge and power accessible only to special elites or adepts. Christian defenders of Harry Potter point to all these cases as evidence that magic in fiction, as opposed to magic in fact, can legitimately be treated as good and innocent.
For to write fiction at all is to imagine at least events, usually persons, and often places that have no real being in the world as God has actually created it. Of course, our freedom to reimagine the world, or to imagine other worlds, is not without limits: We cannot, for example, imagine a world in which love should be evil and hatred good; for the supremacy of love is not a mere contingent fact about the created world, but is an eternal and immutable fact about God himself.
In fact, some Christian readers have even argued for a slippery slope from Tolkien and Lewis to Rowling, suggesting that Christians who accept Tolkien and Lewis but object to Rowling are being inconsistent or hypocritical cf.
The magical exploits of these characters — which include invoking and summoning ambiguously defined spirits in order to achieve magical effects — correspond too closely for comfort to real-world occult practices.
The taste for such things, once awakened, may find titillation in play with Ouija boards, Tarot cards, Harry potter vs lord of the rings essay similar paraphernalia.
In time some may wish to go further, turning to the Internet or their local library for readily available information on Wiccan rituals or other forms of contemporary magical practice. But such viewing habits could be one factor among many that might further incline otherwise vulnerable or at-risk children in that direction.
It is simply neither here nor there. To someone disposed to looking at things this way, a fully Christian response will inevitably strike a note of irrelevance, of incomprehensibility, making the fullness of the Christian message harder to accept. No one worries that exposure to Gandalf or Glinda the Good Witch may leave children vulnernable to harmful spiritual influences, or foster an unhealthy attraction to the idea of magic or of elite gnostic wisdom.
What, then, defines morally acceptable use of good magic in fiction? Where, and how, do we draw the line? And where on this continuum does Harry Potter really fall?
Fortunately, there are some objective criteria that can be helpful. Instead, there are such things as storybook wizards who can start a fire with a word or cast a spell of invisibility on a mythical race of creatures; enchanted pools capable of revealing distant realities or of turning submerged objects into gold; rings capable of transporting the wearer between worlds or of rendering the wearer invisible; and the like.
Because of this, the danger of any slipping from a fascination with this kind of fantasy magic to an interest in the world of the occult, to charms and astral projection and horoscopes and the like, is quite limited.
For example, in the third book, Harry Potter and the Prisoner of Azkaban, Harry has a class in Divination that includes lessons in reading tea leaves and astrology. Yet Rowling roundly spoofs the class and the teacher, who is almost infallibly wrong about everything she says a fact confirmed by Dumbledore — in spite of which, however, he does permit the class to continue.
The larger point, though, is that no child who puts a broom between his legs really hopes to rise up off the ground. And even if he were to do so, like the would-be firestarter, he would simply fail. There is no obvious moral danger in this kind of thing.
At the same time, in Tolkien and Lewis this gulf by no means the only obstacle in the path of potentially vulnernable readers who might be drawn toward an unhealthy interest in magic. In fact, Lewis in particular took pains, as I will show, to avoid even the appearance of condoning any sort of magical study or practice in the real world.
Tolkien, too, created his imaginary world in such a way that the imaginative leap from the magic of Middle-earth to real-world occult practices would be difficult if not impossible for readers to make.
That would be guilt by association. There is no slippery slope here, but a substantial differentiation. Here are the seven hedges in Tolkien and Lewis.
Tolkien and Lewis confine the pursuit of magic as a safe and lawful occupation to wholly imaginary realms, with place-names like Middle-earth and Narnia — worlds that cannot be located either in time or in space with reference to our own world, and which stand outside Judeo-Christian salvation history and divine revelation.
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By contrast, Harry Potter lives in a fictionalized version of our own world that is recognizable in time and space, in a country called England which is at least nominally a Christian nationin a timeframe of our own era.
By contrast, Harry Potter lives in a world in which magic is a secret, hidden reality acknowledged openly only among a magical elite, a world in which as in our world most people apparently believe there is no such thing as magic.
Tolkien and Lewis confine the pursuit of magic as a safe and lawful occupation to characters who are numbered among the supporting cast, not the protagonists with whom the reader is primarily to identify.
Reinforcing the above point, Tolkien and Lewis include cautionary threads in which exposure to magical forces proves to be a corrupting influence on their protagonists: Tolkien and Lewis confine the pursuit of magic as a safe and lawful occupation to characters who are not in fact human beings for although Gandalf and Coriakin are human in appearance, we are in fact told that they are, respectively, a semi-incarnate angelic being and an earthbound star.
Reinforcing the above point, Tolkien and Lewis emphasize the pursuit of magic as the safe and lawful occupation of characters who, in appearance, stature, behavior, and role, embody a certain wizard archetype — white-haired old men with beards and robes and staffs, mysterious, remote, unapproachable, who serve to guide and mentor the heroes.
Harry Potter, by contrast, is a wizard-in-training who is in many crucial respects the peer of many of his avid young readers, a boy with the same problems and interests that they have. Finally, Tolkien and Lewis devote no narrative space to the process by which their magical specialists acquire their magical prowess.
Although study may be assumed as part of the back story, the wizard appears as a finished product with powers in place, and the reader is not in the least encouraged to think about or dwell on the process of acquiring prowess in magic.
Rowling, therefore, has not seen fit to hedge about her use of magic as Tolkien and Lewis have done.“I feel like I’m an above-average driver.” I feel like I’m a below-average driver.
Likewise, I increasingly find driving stressful and dangerous, plus there are more and more good alternatives to driving that are often cheaper and faster and kinder to the environment.
How to Write a Compare and Contrast Essay The traditional essay tips won't work with compare and contrast paper. We have gathered the best ideas online to share with ashio-midori.com you write such assignment for the first time in your school or college life, read information from us..
You need to keep in mind the most common writing mistakes school and college students make to avoid them. Lord of the Rings: Two Towers vs. Harry Potter: Prisoner of Azkaban Comparison In the two novels, Lord of the Rings: The Two Towers and Harry Potter: The Prisoner of Azkaban, by J.K.
Rowling, there is a distinct relationship that is created through the idea that there are the chosen individuals are the only ones that can save the world.
May 20, · Harry Potter. lord of the rings is a world driven story with most of the book devoted to world building, now I respect Tolkien for doing that but I prefer character driven stories.
I prefer the Hobbit to the lord of the rings book wise, movie wise the opposite. All the latest news, reviews, pictures and video on culture, the arts and entertainment.
Writer J. K. Rowling cites several writers as influences in her creation of her bestselling Harry Potter series. Writers, journalists and critics have noted that the books also have a number of analogues; a wide range of literature, both classical and modern, which Rowling has not openly cited as influences.